is 


PRACTICAL  HINTS 


ON 


H?W  DECORWNS 


•BY 


A.  B.  COBDEN. 


^^^^^^ 


PRACTICAL  HINTS 


-ON- 


CHINA    PAINTING, 


BY 


A.  B.   COBDBN, 


MANUFACTURER  AND  DEALER  IN 


AATERIflLS  FOR  PAINTING  ON  CHINA, 


FIRING  and  GILDING  for  AMATUERS  a  Specialty 


Store,  33  N.  16th  Street,  above  Filbert. 


Studio,  15  South  16th  Street. 


Press  of 

COMEGYS&  BRO. 

13  N.  13th  St. 


T  beg  leave  to  thank  my  patrons  for  past  favors,  and 
■*•  ask  to  assure  them  that  I  will  endeavor  to  merit 
their  patronage  in  the  future. 

Many  of  them  fi  equently  urge  me  to  write  a  book  on 
China  Painting,  but  my  time  is  too  fully  occupied  to  do 
so.  To  show  my  appreciation  of  their  kind  encourage- 
ment, I  offer  a  few  hints  in  this  little  book,  hoping  they 
maybe  the  means  of  smoothing  difficulties  and  simplify- 
ing methods  to  my  numerous  pupils  and  friends. 
Yours,  Respectfully, 

Albert  B,  Cobden, 

Instructions  given  at  Studio, 

15  South  16thi  Street. 


Firing   and   Gilding  for    Amateurs    a   Specialty. 


Every  possible  care  is  guaranteed,  but  responsibility 
cannot  bs  assumed  for  breakage  in  firing  or  by  damage 
in  transportation. 


A  fine  assortment  of  White  China  in  English,  French 
and  German,  and  all  painting  materials  constantly  on 
hand. 

All  orders  from  persons  unknown  to  us,  must  be  ac- 
companied by  a  remittance  or  satisfactory  reference. 

Express  orders  receive  prompt  attention. 

No  charge  for  re   acking 

This  book  may  be  had  on  application  at 

33  floitth  16th  Sttffeet,  Philadelphia. 


INTRODUCTORY. 

China  Painting  is  a  beautiful  art,  worthy  of  serious 
study.  Many  persons  are  of  the  opinion  that  no  particu- 
lar study  is  requisite — but  as  the  touch  and  material  are 
entirely  different  from  those  of  oil,  or  water  color  paint- 
ing, it  is  only  natural  to  suppose  that  a  special  study  is 
required  in  order  to  avoid  some  of  the  many  difficulties 
that  are  encountered  in  pursuing  this  art 

It  is  true  that  china  painting  is  somewhat  conven- 
tional, and  may  not  offer  the  same  facilities  for  the  truth- 
ful rendering  of  nature  as  oil  or  water  color  painting, 
but  beautiful  coloring  may  be  executed  on  china  of  such 
transparency  and  durability  as  will  compensate  for  other 
deficiencies. 

MATERIALS. 

The  use  of  powder  colors  is  strongly  recommended, 
as  the  success  of  the  work  largely  depends  on  the  condi- 
tion of  the  colors. 

These  should  be  thoroughly  ground  with  a  moderate 
quantity  of  Fat  Oil  and  enough  Turpentine  to  make  the 
color  run  or  flow.  When  you  have  ground  it  breathe  on 
it  sufficiently  to  prevent  it  from  flowing  and  put  it  in  the 
smallest  compass  you  can  on  the  palette,  -.s  it  will  keep 
in  condition  longer  by  so  doing.  Do  not  mix  the  color 
more  than  you  can  help,  after  breathing  on  it,  as  this 
allows  the  moisture  from  the  breath  to  evaporate  and  the 
color  will  return  to  its  running  state.  This  condition  of 
the  color  is  a  great  annoyance  to  the  painter. 


It  is  very  important  to  breathe  on  your  color,  for  the 
moisture  from  the  breath  prevents  it  from  flowing.  If 
the  color  flows  on  the  palette,  it  will  likewise  flow  on  the 
china,  and  will  settle  on  par  icles  of  dust  or  lint  that  may 
be  on  your  china  or  in  the  colors,  and  when  fired  your 
work  will  be  covered  with  spots  of  paint  which  will  give 
it  a  woolly  or  rough  appearance.  The  tube  colors  have  too 
much  fat  oil  in  them  and  attract  the  dust  partich  s  when 
a  heavy  coat  of  color  is  required.  Of  course  powder  color 
will  do  the  same  thing  if  too  much  fat  oil  be  used.  But 
in  the  latter  colors  you  can  always  regulate  the  amount 
of  oil  and  less  trouble  fiom  dust  is  experienced.  If  you 
want  to  put  on  a  thin  wash  of  color  you  can  add  a  little 
more  oil  with  your  brush  and  your  color  will  not  flow,  as 
it  is  put  on  thin. 

It  is  generally  thought  that  colors  of  different  manu- 
factures should  not  be  mixed.  If  the  colors  are  good  no 
trouble  will  be  experierced  by  mixing  them.  If  you  find 
the  tube  colors  too  oily,  mix  a  little  powder  color  with 
them — yellow  with  yellow,  blue  with  blue,  rose  with  car- 
mine, etc.,  using  turpentine  only  to  thin  them.  If  you 
cannot  prevent  them  from  running  flat  on  the  palette  ycu 
may  know  there  is  still  too  much  oil  in  them.  Add  a 
little  more  powder,  not  forgetting  to  breathe  on  it  after 
you  have  mixed  it  thoroughly. 

It  is  unnecessary  to  use  many  colors,  as  they  can  be 
mixed  with  almost  the  same  freedom  as  water  colors,  with 
the  exception  of  red  and  yellow.  It  is  advisable  not  to 
use  too  much  yellow,  as  it  destroys  the  red. 

5 


It  would  be  well  to  make  a  trial  plate,  by  mixing  the 
various  colors  from  the  following  palette,  which  is  about 
all  that  is  necessary  for  general  work. 


3WDER  Colors. 

Tube  Colors. 

Rose 

or 

Carmine. 

Ruby 

or 

Ruby  Purple. 

Yellow 

or 

Mixing  Yellow. 

Orange 

or 

Yellow  Ochre. 

Light  Brown 

or 

Brown  No.  ic8. 

Red 

or 

Capucine  Red. 

Apple  Green 

or 

Apple  Green. 

Florence  Green 

or 

Chrome  Green. 

Brown  Green 

or 

Brown  Green, 

Dark  Blue 

or 

Deep  Ultra  Marine  Blue. 

Celesiial  Blue 

or 

Light  Blue. 

Black 

or 

Black. 

White  Enamel 

or 

Permanent  White. 

From  the  list  of  colors  mentioned,  you  can  produce 
almost  any  color  necessary  for  painting.  For  instance, 
from  the  two  greens,  orange  and  yellow,  you  can  make 
a  great  variety  of  greens  by  mixing  different  proportions. 
Florence  green  being  a  strong  color  must  be  used  very 
sparingly. 

Orange  is  a  useful  color.  It  gives  warmth  to  green 
For  grayish  green  add  a  little  blue  or  rose  color.  Shadow 
for  green  can  be  made  with  brown  and  green,  or  brown 
green,  adding  blue  if  a  cooler  tone,  is  required. 

Directions  for  P&irjtirjg. 

Sketch  your  design  very  delicately,  in  water  color. 
Take  up  the  local  color  for  a  leaf  or  petal  and  lay  it  on 


as  quickly  as  possible.  Then  flatten  your  brush  on  your 
palette  and  sweep  over  the  part  just  painted  as  lightly  as 
you  can,  being  sure  it  is  perfectly  smooth  before  you 
leave  it. 

Keep  the  stroke  of  the  brush  in  the  direction  of  the' 
fibres  and  from  light  to  dark,  or  where  the  shadow  will 
finally  be. 

P5y  doing  so  your  local  color  will  be  thicker  where 
)  our  shadows  are  to  come  and  thin  in  the  light  parts, 

Vour  first  painting  being  finished,  it  will  suggest  the 
shadows. 

Do  not  use  any  shadow  colors  for  the  first  painting. 

Your  local  colors  must  row  be  fired,  after  which 
proceed  to  lay  on  the  shadow  colors  where  they  are 
required,  leaving  the  first  painting  for  the  lights.  A  little 
white  enamel  can  be  used  for  the  high  lights. 

Use  of  Colors 

For  Pink.     Use  rose  or  carmine  for  first  painting. 

For  Shadows,  add  grey  to  pink  or  local  color,  and 
retouch  darkest  parts  with  pure  pink. 

For  Yellow.  For  light  yellow  use  pure  yellow. 
For  darker  yellow,  add  orange  to  the  yellow.  Shade 
with  orange  and  a  little  blue.  For  dark  parts  add  a  little 
brown. 

For  Blue.  Paint  the  desired  tint  of  blue  and  shade 
with  blue  and  a  little  ruby. 

For  Purple.  Mix  blue  and  a  little  ruby  and  shade 
with  same.  For  darkest  parts  add  a  little  more  ruby.  If 
a  lighter  purple  be  required  use  rose  in  place  of  ruby. 


For  Crimson.  Mix  about  three  parts  rose  and  one 
part  ruby.     Shade  with  ruby. 

For  Red-  Use  pure  red  for  first  painting.  Shade 
with  red  and  a  very  little  ruby  or  violet  of  iron. 

For  Grey.  Mix  orange  and  blue  and  a  very  small 
quantity  of  rose.  It  is  a'most  impossible  to  give  the  pro- 
portions, as  all  depends  on  the  color  underneath.  For 
instance,  yellow  is  warmer  than  white,  therefore  in  mix- 
ing a  grey  for  it,  orange  should  predominate.  White 
being  cold  it  is  necessary  to  use  more  blue  in  mixing  a 
shadow  tint. 

For  White.  Mix  a  grey  for  the  shadows  and  leave 
china  white  for  lights.  Use  a  little  white  enamel  for  high 
lights. 

If  you  wish  to  make  a  yellow-brown  add  a  little 
orange  or  yellow  with  the  brown.  If  a*  darker 
brown  is  required,  add  a  little  ruby  or  black,  or  both,  to 
brown.  Care  should  be  taken  in  adding  ruby  or  rose  to 
colors,  as  they  intensify  in  firing. 

Paste  for  Raised  Golsl 

It  is  very  important  to  have  the  paste  tho- 
oughly  ground  with  turpentine.  To  a  portion  of  it 
add  a  small  quantity  of  fat  oil,  keeping  the  other 
part  on  your  palette.  If  the  portion  to  which  you 
have  added  the  oil  is  too  thick,  thin  with  turpentine  and 
breathe  on  it  enough  to  prevent  it  from  running  flat  on 
your  palette,  but  not  enough  to  dry  it.  Then  place  it  in 
the  smallest  compass  you  can,  as  it  will  keep  in  condition 

8 


longer  by  so.doing.    With  a  fine  brush  take  up  the  amount 
of  paste  you  need,  forming   a   knob  on  the  end,  and  lay 
the  paste  on  as  lightly  as  you  can,  so  that  the  brush  will 
not  press  flat  tl  e  paste,  taking  care  in   joining  lin< 
you  cannot  alter  them  after  they  are  dry 

You  will  find  it  necessary  to  mix  your  paste  every 
few  minutes,  as  it  dries  quickly,  adding  a  little  turpen- 
tine each  time  and  not  forgetting  to  breathe  on  it  should 
it  run.  If  your  paste  becomes  too  fat  with  frequent  mix- 
add  to  it  a  little  of  the  paste  that  is  ground  with  tur- 
pentine only. 

Oil  of  tar  is  also  a  good  medium  for  paste. 
Relief  or  Enamel  Colors  should  be  used  in  the 
same  way  as  paste.     In  mixing  these  use  a  little  less  oil 
and  more  turpentine.   It  is  not  necessary  to  grind  enamel 
fine,  as  it  will  fire  smooth. 

For  Tinting 

Great  care  should  be  taken  to  grind  your  color  with 
tinting  oil  and  a  little  turpentine  until  it  is  free  from 
grit. 

In  mixing  color  for  tinting  it  is  necessary  to  use  more 
oil  than  for  painting. 

It  is  preferable  to  use  tinting  oil,  for  it  is  specially 
prepared  for  that  purpo.e. 

Almost  all  the  colors  in  the  list  may  be  used  fur 
tinting.     There  are  a  few  for  ground  laying  only. 

It  is  impossible  to  give  the  exact  proportions  of  oil, 
color  and  turpentine,  as  some  use  powder  colors,  and 
others  tube  colors. 


When  tinting  a  large  piece  it  is  necessary  to  use  more 
oil.  It  takes  longer  to  go  over  the  surface  and  the  color 
must  be  kept  moist,  so  that  an  opportunity  is  given  to 
pad  the  color  even.  If  it  dry  too  quickly  add  more  oil- 
Should  it  not'dry  quickly  enough,  the  ground  will  be  too 
light  when  padded.  In  this  latter  case,  do  not  continue 
padding",  but  allow  it  to  stand  until  it  becomes  slightly 
sticky. 

If  it  be  not  ready  to  pad  after  standing  a  few  min- 
utes there  is  too  much  oil.  In  that  case  remove  the  tint 
and  try  again,  being  careful  not  to  use  the  oil  in  excess. 
A  little  experience  in  tinting  will  give  you  the  propor- 
tions. Make  a  pad  by  placing  a  wad  of  raw  cotton  within 
a  piece  of  smooth  silk.  Stretch  the  silk  smoothly  over 
the  cotton  and  tie  it  in  place  in  the  form  of  a  pad  or 
cushion. 

Your  brush  must  be  thoroughly  cleansed  with  tur- 
pentine, then  dipped  in  the  oil  and  worked  on  the  pal- 
ette. Everything  now  being  ready  lay  on  the  tint  as 
quickly  and  evenly  as  you  can  and  pad  it  perfectly  even, 

In  places  where  you  cannot  use  a  pad,  such  as 
around  handles  or  in  indentations,  use  a  blander  or  soft 
camel's-hair  brush. 

After  tinting  remove  all  color  from  edges. 

Grouo<U&yio$   or  Drydustirjg 

When  dark  or  strong  grounds  are  desired  the  color 
must  be  used  in  pou  der  form  and  dusted  on.  Take  a 
small  quantity  of  groundlaying  oil,  which  is  specially 
prepared  for  this  purpose,  thin  with  turpentine  and  mix. 
thoroughly. 


The  proportions   are  go:  erned  rength  of 

color  desired. 

It  is  advisable  to  use  a  saucer  i;  i  mix  it. 

The  oil  being  thin  it  will  run  off  a  flat  surface. 

Lay  a  thin  even  coat  of  the  oil  on  your  china, 
being  careful  not  to  leave  any  spaces  uncovered. 

Now  use  a  pad,  the  same  as  used  in  tinting  ;  also,  a 
blender,  where  you  cannot  get  with  the  pad.  Be  sure 
you  have  padded  the  oil  perfectly  even  before  you  apply 
the  color,  as  the  least  imperfection  will  be  noticeable 
after  it  is  fired. 

to  stand  for   a   short  time  until  the  oil 
becomes  sticky. 

With  a  large  blender  or  wad  of  raw  cotton  take  up 
as  much  of  the  colo  over 

theo  .  e,  until  it  looks  perfectly  even,  being  care- 

ful not  to  slight  any  part. 

f  all  the   superfluous  color  with  a  soft 
brush  or  wad  of  cotton. 

If  any  of  the  color  is  to  be  removed  from  the  back 
ground  remove  it  at  once  with  a  soft  piece  of  rag. 

Gold 

The  large  amount  of  gold  prepared  by  us,  is  suffi- 
cient proof  that  it  gives  perfect  satisfaction  in    quantity 
and  quality,   and  enables  us  to  sell   at  the  lowest  possi 
ble  price.     Our  light  green,  red,  bronze,  and  dead  g 
harmonize  perfectly  when  used  in  solid  decorations. 

In  using  gold   it  is  necessary  to  mix  it   thor* 
with  turpentine,  until  thin  enough  to  flo 
but  not  thin  enough  to  spread. 


The  idea  is  prevalent  among  amateures  that  in  order 
to  get  on  a  good  coit  of  gold  it  is  necessary  to  use  the 
gold  stiff.  This  is  not  so,  as  stiff  gold  will  not  flow  from 
the  brush. 

In  filling  your  brush  which  should  moderately  filled 
to  the  quill,  be  sure  and  work  it  thoroughly  in  the  gold. 
Do  not  twist  the  brush  to  form  a  sharp  point,  as  this 
empties  the  point  of  the  brush.  It  is  necessary  to  have  a 
full  brush  and  a  light  touch. 

When  the  gold  becomes  stiff  and  clogs  in  your  brush, 
dip  it  in  the  turpentine  and  again  work  the  brush  well  in 
the  gold. 

For  solid  work,  such  as  handles,  use  a  square  shader 
of  medium  size  Keep  the  brush  flat  and  brush  over  the 
gold  repeatedly,  until  you  have  worked  out  all  streaks  or 
brush  marks. 

Keep  the  gold  in  as  small  a  compass  as  possible. 

Keep  a  separate  vessel  of  turpentine  for  gold  work. 

For  stippling  have  your  gold  very  stiff  and  always 
wash  the  stippler  in  alcohol  after  using  it. 

Use  hard  gold  only  for  working  over  color. 

A\&tt  Colors 

The  method  for  working  Matt  or  Gouache  colors  is 
similar  to  that  of  glazed  colors,  but  the  color  must  be 
laid  on  thick  enough  to  hide  the  glaze  of  the  china,  but 
not  thick  enough  to  chip  off  in  firing.  When  a  lighter 
shade  is  required  add  matt  white.  • 


EriflmHLi  POCJUDEH  COIiOI^S 

FOR    PAINTING    ON    CHINA 


Peach  Blossom, 10 

Rose, ?o 

Carmine, 10 

Ruby, 25 

Capucine  Red, 10 

Pompadour  Red, 10 

Violet  of  Iron, 10 

Flesh  Color, 10 

Yellow, 10 

Gold  Bjd  Yellow, 10 

Orange, 10 

Ivory, 10 

Light  Brown,    10 


Hair  Brown  (Dark), . .    10 

Yellow  Green, 10 

Apple  Green, 10 

Grass  Green, 10 

Florence  Green, 10 

Brown  Green, 10 

Light  Blue  Green,  ...    10 

Celestial  Blue, 10 

Blue  No.  1, 10 

Violet, 10 

Black, 10 

Flux, 10 

Paste  for  Raised  Gold,   10 


French  Brown  (Med' m),  10  | 

All  the  colors  in  the  above  list  may  be  used  for  tint- 
ing and  ground  laying,  except  Paste  and  Flux.  Ruby 
is  more  satisfactory  ground  laid  than  tinted. 

A  full  line  of  La  Croix  Colors,  in  tubes,  to  be  had  at 
the  store,  33  North  Sixteenth  Street. 

GOIiD,  BHO^ZE   flfiD    SIIiVE^ 

Prepared  Dead  Gold,     per  box,  $     75 

Hard  Gold  (for  over  color  only) 75 

Red  Gold 75 

Light  Green  Gold 75 

Bronze  Gold 75 

Liquid  Bright  Gold, per  vial,  50  and  75 

Dead  Silver,  in  powder,  prepared  and  fluxed.  .25  and  50 


13 


mflTT  Conors 

For  painting,  tinting    and  ground   laying  in    Royal 
Worcester  and  Doulton  decorations. 

Pink  No  I,. 10 

Pink  No, 2, io 

Old  Rose io 

iMarone, 15 

Chocolate, 10 


Yellow 10 

Orange, 10 

Brown   Bronze, 10 

Green  Bronze, 10 

Nile  Green 10 


Lt.Olive  Bron  zeGreen  1  o 

Yellow  Green, IO 

Dark  Blue  Green jo 

Dark  Blue, 10 

Robins' Egg  Blue, ..  .  10 

White, 10 

Black 10 

Vellum 10 

Old  Ivory, io 


BRUSHES 

i  FINE  FRENCH    CAHEL'S  HAIR    BRUSHES,    First   Quality 

Tinting  Brushes, 15,  20,  25,  and  30 

Fitch  Stipplers  No.  8, 15 


5 12 

3> 10 

8, 12 

6, 12 

4, 10 

2, c8 

1, 08 

1, ..08 

"     o, 08 

**  "  "00,    06 

Blenders, 15 

14 


Square  Shaders,  " 


Tracers 


FOR    GROUND    LAYING 

Turquoise  No.  i, 10 


SEIilEF  EJSIAJVIELi 
COLiO^S 

White  Enamel 10 

Gieen, 10  j    Opaque  Turquoise,,  ..  10 

Crown  Darby  Pink, ....    10  ;    Light  Red 10 

Ruby, 25       Rose, 10 

,    Yellow, 10 

OIUS,  Etc. 

Thick  or  Fat  Oil, per  bottle     10 

Essence  de  Grasse, "         "        10 

Tinting  Oil, "         "        10 

Balsam  of  Copaiba, "         "        10 

Ground  Laying  Oil, "         "        10 

Clove  Oil, *'         "        10 

Lavender  Oil, "         "        10 

Taking  Out  Mixture, "         "        10 

Glass  Brushes, each  25  and  50 

Steel  Palette  Knives, 25 

Scrapers 40 

Horn  Palette  Knives 10  and  1  c 

Agate  Burnishers, ^  and  50 

India  Ink, 10  and  20 

Tracing  Paper per  sheet,  5  and  10 

Transfer  Paper, "  5  and  10 

15 


Firing 


EACH 

Pitchers,  half-pint,  10 

"         pint,  15 

"         quarts,  20 

"         three-pint,  25 

"         half-gallon,  35 

Chocolate  pots,  25 

Cracker  Jar  and  Cover,  20 

"     large,  25 

Tea  Cup  and  Saucer,  10 

A.  D.  Cup  and  Saucer,  08 

Coffee  Cup  and  Saucer,  12 

Moustache  Cup  and  Saucer,  15 

Boullion  Cup  with  Saucer.  10 

and  cover,  } 

Tea  Pot, 
Sugar  Bowl, 
Sugar  Box, 
Cream  Pitcher 
Cake  Plate, 

Egg  CuP> 
Candlestick,  low, 

"  medium 

high, 
Individual  Butters, 
Sauce  Tureen, 


15,  20  and  25 

05,  10  and  15 

15  and  20 

05,  08  and  10 

12 

04 

10 

12 


DOZ 


$I.OO 

80 

I  20 

I.50 

I  OO 

5       1.50 


Gilding 

EDGE    ONLY 

EACH     DOZ 

05 
IO 

15 
15 
20 

15 
15 
15 
IO 
08 
15 
15 
IO 


40 


04^ ^40-— 

25 


lS 


$1.00 

80 

1.50 

1.50 

1. 00 


50 


04        40 


# 


do 


Firing 


Gilding 


EDGE  ONLY. 

EACH 

DOZ 

EACH      DOZ 

Sauce  Boat, 

15 

Covered  Dish, 

30 

Salad  Bowl, 

20 

large, 

25 

Olive  Dish,  from, 

07 

Baskets,  from, 

12 

Butter  Dish, 

20 

Ice  Cream  Saucer, 

05 

50 

05            50 

Oyster  Plates, 

TO 

I. OO 

IO          I  OO 

Sieve  Buttons,  per 

pair, 

OS 

Mugs,  small, 

08 

"       large, 

IO 

Powder  boxes, 

08    IO  &    I 

5 

Bon-Bon  Boxes,     08  10  12  15  &  20 
Bone  Dishes,  07       -70 

Pen  Tray,  07 


07 


Comb  and  Brush  Tray,/o?  ^15 

15 

Manicure  Tray,                           08 

08 

Ring  Tree,                                  05 

05 

Pin  Tray,                                      05 

0-5 

Bread  and  Milk  Set,  3  pieces   25 

25 

Marmalade  Jar  and  Stand.       20 

20 

Punch  Bowl,  from                     50 

17 

70 


PLATES: 


FIRING 

Size  in  Inches 

5                 6 

7 

8 

9 

Each 

05            06 

07 

$  08 

$ 

10 

Dozen 

150          60 

70 

80 

1  00 

COLD  EDGE. 

Each 

05        07 

08 

IO 

10 

Dozen 

50        70 

80 

1. 00 

1 .00 

COLD  STIPPLED  EDCE  RICH 

Each 

20           30 

40 

50 

50 

COLD  STIPPLED  EOCE  SLIGHT 

Each 

15               20 

25 

30 

30 

COLD  DENTELLE  EDCE 

Each 

15               20 

PLAQUES. 

20 

25 

25 

FIRING 

Size  in  Inches  10 

II               12 

13 

14 

16 

Each                   12 

15              15 

20 

25 

30 

COLD  EDCE 

Each                   12 

'5              '5 

DISHES: 

20 

25 

30 

FIRING 

Size  in  Inches    8 

10        12         14         16 

18 

20 

22 

24 

Each                  io 

IO         15         15         20 

25 

30 

40 

50 

COLD  EDGE 

Each                io 

I O        12         15        20 

TILES. 

25 

30 

40 

FIRING 

SIZE  IN   INCHES 

3x3              3x6 

6x6 

8x8 

Each 

05                  07 

08 

IO 

Dozen 

50                  70 

75 

#1.00 

PANELS. 

FIRING 

SIZE    IN   INCHES          4x6 

6x8        8x!2         10x14         I0zl6 

10x18 

08 

IO           20            30              35 

VASES. 

40 

Size  in  Inches    4, 

OS 

5  or  6  . 

IO 

7  or   8 

'5 

9  or    10 

20 

11  or  12 

25 

13  or  14 

35 

15  or  16 

45 

17  or  1$ 

63 

Vases  with  handles  and  feet  will  be  charged  extra 

Your  attention  is  called  to  a  choice  selection  of  white 
china  at  reasonable  prices. 

This  price  list  is  subject  to  blight  alterations, 


'9 


Wo 


ten 


